![]() ![]() ![]() New Feature - Bolex Log and Bolex Wide Gamut.New Feature - RED Gamma 1 and RED Gamma 2 using data from.Bugfix - Gamut Limiter tool was blocking LUT generation.Bugfix - Fixed Javascript policies which stopped LUTCalc working on Internet Explorer / Edge browser.Feature Change - Improved interpretation of Canon EOS Standard and Normal gammas.Feature Change / Bugfix - Extensive rewrite of 'Custom Colour Space' code.Feature Change - New code for estimating the gamut triangle on the 'xy / uv chromacity' preview.Feature Change - Reworked 1D interpolation code for speed and efficiency.Feature Change - Extensive rewrite of LUTAnalyst code for improved accuracy.Feature Change - Complete rewrite of 3D interpolation / extrapolation code for efficiency, accuracy, clarity and maintainability.New Feature - Custom Colour Space can now set primaries from a matrix and white point / illuminant.New Feature - 'DaVinci Resolve 12+ auto' preset option, to reflect that Resolve 12's default 'auto' clip range setting. ![]() Where LUTs appear to have been clamped (ie the maximum output value is exactly 1.0 and or the minimum exactly 0.0), the declip process will attempt to extrapolate the clipped values, then limit them within a sensible range without hard clipping. New Feature - 'Declip' button on the LUTAnalyst tool.Clicking it creates a LUT title containing input and output gamma and gamut details, plus basic info of customisation (currently black level and saturation). New Feature - Sony Standard Gammas STD 1-6.New Feature - P3 Colourspace now available with DCI, D60 and D65 white points.Legalises colours and fixes potential LUT overshoots when going from a wide Gamut such as S-Gamut3 to a narrow one such as Rec709. New Feature - Completely new gamut limiter algorithm and code.New Feature - Choice of tricubic, tetrahedral and trilinear interpolation for analysis and use in LUTAnalyst.What it mainly demonstrates is that the SDR copy can be colorful and retain much of the sparkle of the HDR version. Following is a link to my most recent YouTube HDR upload in HLG. YouTube has a help topic for content creators on how to create and attach a cube lut to your upload. In either case of HDR10 or HLG, the YouTube SDR copy will otherwise appear overly flat and comparatively lifeless primarily because the copy will be in 2020 color which will look flat on 709 monitor. This is an especially important step since currently most viewers will be watching the videos in SDR. For either format, you can attach a cube lut to your upload to give hints to the YouTube encoder how the SDR copy should look. With either one, YouTube will create an SDR copy. Since it is scene based gamma not display targeted nits, as your highlights stretch into the high brightness range the mid range rolls up as well, a more familiar 709 type of look that looks great in any light, less specular, you don't have to worry so much about skin tones blooming or makeup foundation jumping off the face into a separate bright color layer as can happen with improperly graded HDR10, but still an enhanced dynamic range viewing experience. It's much simpler to grade, looks fantastic but it is a different look. HLG does not have the benefit but also does not have the problem. The benefit has companion worries just mentioned, skin tones reaching too high. The benefit of greater color volume at high brightness nits is exclusive to PQ st2084 EOTF, thus HDR10, Dolby Vision and Technicolor. You need a HDR10 grading monitor or you'll be redoing it all trial and error scene by scene. The ability to separate, delineate specular highlights that can and should be pumped up to 1000+ nits has to be done carefully to prevent non-wanted features like skin tones from reaching the upper zones above 100 nits. Your talent will want you fired if you let that happen. This can be very realistic, as well there's more color volume retained as luminance is raised, which is another caveat to be careful about if trying to grade HDR10 on a SDR monitor, certain features like women's makeup foundation appears prominent as a separate layer if skin tones are put up into the upper HDR zones above 100 nits. Highlights in HDR10 are more specular in nature. HDR10 is more cinema like, retains more shadow detail, to see it consistently means viewing in darkened viewing conditions. So either get a proper HDR10 monitor for grading or give up on that idea and use HLG which can look arguably better in some situations like viewing output in brightly lit viewing rooms, sports events, documentary, short form. That you can grade on a 709 monitor with a reasonable expectation the graded output for HLG will be close. The easiest path to YouTube HDR is to forget about HDR10 and do HLG instead. You'll be creating luts scene by scene because it uses display targeted brightness instead of scene gamma. Doing HDR10 without a proper HDR10 capable monitor will be difficult. ![]()
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